The LUMIX GH6 firmware version 2.3 provides users with access to a more flexible workflow. The mid-July firmware update allows the camera to output to a Blackmagic Design monitor/recorder ‘Blackmagic Video Assist 12G HDR’ over HDMI and save it as Blackmagic RAW. With the ability to record RAW video to a Blackmagic Design external recorder, LUMIX GH6 users now have two RAW options: the popular ProRes RAW and Blackmagic Design’s own BRAW.

The firmware update for the LUMIX GH6, which is available on the LUMIX Global Customer Support website, allows users to output 12-bit RAW video to a Blackmagic Design monitor/recorder in [5.7K], [C4K], [Anamorphic (4:3) 5.8K], or [Anamorphic (4:3) 4.4K]. The firmware update also adds 4K 120p/100p HDMI output support.

Panasonic advises those interested in the Blackmagic Video Assist 12G HDR firmware version to visit the Blackmagic Design website, and that DaVinci Resolve or DaVinci Resolve Studio is required to play back and edit Blackmagic RAW data.

Furthermore, when the [Rec Quality] is set to 5.7K/60p (50p) or C4K/120p (100p) and recording to a Blackmagic Design recorder, it is recommended that the codec quality on the recorder be set to the following:

• When recording to an SSD, maintain a constant bitrate of 5:1 or less.
• When recording to an SD card, maintain a constant bitrate of 8:1 or less.

The latest firmware update confirms what Panasonic’s marketing says about this release: “through firmware updates, Panasonic delivers future-ready solutions for more flexible filmmaking workflow using mirrorless cameras.”

Read the full article from ProVideoCoalition HERE

Learn more about Panasonic LUMIX GH6 HERE

Learn more about Panasonic LUMIX HERE

Atomos has announced immediate support for Apple ProRes RAW plug-ins, which should allow manufacturers to create their own ProRes RAW processing pipelines to combine with the unique elements of their own cameras, sensors, lenses, and so on.

With this new set of plug-ins, every camera manufacturer will be able to create their own ProRes RAW plug-in to extract the highest quality video recording from their own cameras, potentially adding ProRes RAW to any camera you own or plan to buy in the future.

ProRes RAW Recording

What’s exciting about this news is that now that Atomos has unlocked ProRes RAW recording, any ProRes RAW plug-ins should be fully supported in Final Cut Pro or any other editing or color grading software that has licensed the ProRes RAW SDK. According to Atomos, getting started with this new ProRes RAW plug-in should be simple for camera manufacturers, vendors, and, in the future, users.

Once available, you’ll be able to effortlessly install a camera vendor’s ProRes RAW plug-in, and FCP will instantly be able to show all of the increased features of your supported camera—including all of your camera rig’s unique characteristics.

Using a ProRes RAW plug-in will also let you to make camera-specific tweaks in your edit, such as altering the white balance, adding noise reduction, correcting lens distortion, or even demosaicing film, as well as a slew of other capabilities in the future.

A New ProRes RAW Ecosystem

Every camera manufacturer can now provide their own ProRes RAW processing pipeline.
As one of the two most popular universal RAW formats for video, ProRes RAW, has long been the holy grail for those looking to shoot and record digital video at the highest quality possible. While many cameras offer RAW recording in one form or another, this new innovation announced by Atomos promises to truly unlock Apple Pro RAW for all cameras everywhere.

Set to be released immediately, Atomos has announced support for Apple ProRes RAW plug-ins which should allow manufacturers the ability to create their own ProRes RAW processing pipelines to combine with the unique elements of their own cameras, sensors, lenses, etc.

With this new array of plug-ins, every camera manufacturer will be able to develop their own ProRes RAW plug-in to bring out the highest quality video recording from their own cameras, in theory eventually adding ProRes RAW to any camera which you currently own or plan to in the future.
ProRes RAW Recording
What’s cool about this news is that with ProRes RAW recording unlocked with Atomos, any ProRes RAW plug-ins should be fully supported in Final Cut Pro or any other editing apps or color grading software that licensed the ProRes RAW SDK. According to Atomos, getting set up with this new ProRes RAW plug-in should be easy for camera manufacturers, vendors, and eventually users in the future.

Canon is set to be the first brand to capitalize on this new innovationCREDIT: Atomos
Once released, you’ll be able to easily install a camera vendor’s ProRes RAW plug-in, and FCP will instantly be able to show all of the enhanced features of your supported camera—including all of the unique characteristics of your camera rig.

Also, using a ProRes RAW plug-in will unlock the ability to make camera-specific adjustments in your edit, like changing the white balance, adding noise reduction, fixing lens distortion, or even demosaicing footage, plus plenty of other controls in the future.

A New ProRes RAW Ecosystem

This is excellent news for existing Atomos and Final Cut Pro users, but it should also tempt others to consider using either of these tools and processes in the future, or so Atomos hopes.

“This new feature for the ProRes RAW ecosystem is absolutely going to change the way people think about recording ProRes RAW. For the first time the filmmaker literally gets the best of all worlds: shoot in ProRes RAW with the option to immediately apply camera-specific processing, use standard processing, or customise individual parameters to their own taste. You have to ask yourself: why wouldn’t you shoot in ProRes RAW?”

Trevor Elbourne, Atomos CEO.

Because they were the first to market with their 8K ProRes RAW compatible mirrorless camera, the Canon EOS R5, this is a significant step forward for the ProRes RAW standard and opens up a plethora of exciting possibilities for high-end video recording and editing.

Read the full article from No Film School HERE

Learn more about Atomos HERE

GET TICKETS HERE!

RED Digital Cinema is committed to helping shooters develop hands-on, industry-specific skills through the REDucation program.

This workshop is open to anyone who owns or can acquire a RED. If you are unable to acquire one, we will have them provided for class.

Please contact jessi.laday@red.com if you have any questions.

The Ninja V+ is the next stage in the evolution of the multi-award winning Atomos Ninja, delivering up to 8Kp30 and 4Kp120 continuous recording in Apple ProRes RAW while inheriting HDR, 4Kp60 RAW and video as well as HDp120 slow motion from it’s little brother, Ninja V.

Watch the full video from extrashot HERE:

Learn more about Atomos Ninja V+ HERE

Learn more about Atomos HERE

Check out some highlights from this article from provideocoaliton.com to learn more.

Atomos is making it possible to record RAW footage with Shogun 7 and FX9 with the AtomOS V10.42 firmware download available on the Atomos website. It’s a free update!

ProVideo Coalition noted, last May, that the Sony FX9 would get RAW recording in 2020. Well, it’s now! The new free AtomOS update available is the result of the cooperation between Sony and Atomos. With the new firmware the Sony’s PXW-FX9 camcorder with full-frame sensor is now capable of outputting RAW over SDI (it requires XDCA-FX9 extension unit), when paired with the Atomos Shogun 7.

With the camera and the Shogun 7 users can record, says Atomos, “pristine Apple ProRes RAW images at up to DCI 4Kp60, or in 2K up to DCI 2Kp180 continuous for stunning slow motion from the FX9 and XDCA-FX9 Extension Unit. The resulting images have amazing detail and a high degree of latitude to utilize in post-production – optimal for HDR finishing or to give greater flexibility in SDR (Rec.709).

Check out the full article HERE.

Learn more about Atomos HERE.

Indie Shooter’s Jake Fruia gives some great information about the new Atomos announcements and some great examples of footage and reveiws shot on the Ninja V & Panasonic S1H. See some highlights below of his article.

Some things Ninja V and Pansonic LUMIX S1H users will able to record are:

• 12-bit RAW
  This allows for greater creativity in post-production with perfect skin tones and easily matched colors, ideal for both HDR and SDR (Rec.709) workflows.
• Anamorphic RAW
  The Ninja V and S1H can now be used as an A-camera or smaller B-camera on an anamorphic RAW production.
• Improved color pipeline
  LUMIX S1H ProRes RAW files recorded to the Ninja V will now have an improved color pipeline in Apple Final Cut Pro X.

“The Ninja V allows users to accurately monitor the RAW signal on its daylight-viewable 5” 1000nit brightness HDR screen. Setup is simple when the camera is attached with perfectly tuned color settings applied automatically. Users can then view the RAW image accurately in HDR in a choice of HLG and PQ (HDR10) formats. The Ninja V offers touchscreen access to tools like waveforms, 1-1 magnification and focus peaking, allowing them to perfect their RAW video. The Ninja V then records the ProRes RAW data onto a removable AtomX SSDmini or other SSD drive. When shooting is complete the drive is removed and connected to a computer via USB for immediate offload and editing.”

Jake Fruia

Check out the full article here!

Learn more about Atomos here!

Learn more about Panasonic here!

2019 is all about taking content creation to the next level. Video makers everywhere are looking to add that elusive cinematic quality to their work, whether that be on social media, YouTube or on TV. To answer those needs, Atomos today unveils the next revolution in digital imaging – RAW video output and capture from Nikon’s full frame mirrorless cameras. The Nikon Z 7 and Z 6 full-frame mirrorless cameras will work together with the Atomos Ninja V 4K HDR monitor/recorder to record Apple’s ProRes RAW video format.

The upcoming feature will be on display in the Nikon booth (#14006) during the CES® 2019 show.

Capturing Apple ProRes RAW video with the Ninja V unlocks complete control of the video image at the highest quality possible. The maximum dynamic range, color accuracy and detail is preserved, while at the same time every aspect of the video image can be controlled with precision for maximum creativity. Colors can be easily matched and the extra information means footage can be easily be manipulated in post-production, which is especially useful for grading and VFX shots.

Atomos and Nikon Inc. (Melville, NY) are offering video creators the new Z 6 Filmmaker’s kit too – also announced at CES. The full-frame Nikon Z 6 camera is the video production powerhouse at the center of the kit. Paired with the Atomos Ninja V monitor/recorder and other accessories, it has everything required for professional video shooting and beautiful photographs. The combination can currently shoot brilliant full-frame video in 10-bit 422 ProRes and DNx professional video formats, with ProRes RAW to be added.

Atomos CEO Jeromy Young said:

“It’s a really exciting time for high quality cinematic video on every platform from Facebook to Netflix. Our customers are increasingly making their livings creating this content and we love giving them the affordable tools they need to do it. Our $695 Ninja V delivers better image quality without sacrificing amazing features like autofocus and high megapixel stills. Through partnering with great companies like Nikon, we have built solutions that are easy to use and look great.”

Until now, RAW video has been the domain of dedicated cinema cameras that are either limited in features or priced far beyond the reach of most consumers. Now Atomos is giving content creators the same quality and flexibility in video that they have come to expect from RAW photos.

How it works – In simple terms, the camera outputs a stream of RAW data via a 4K HDMI cable to the Ninja V. This data is then repacked into the ProRes RAW format and recorded to a removable SSD drive in the Ninja V. When shooting is finished, the drive is removed and connected to a computer via USB. Footage can then be decoded (debayered) and edited in the highest possible quality. Using ProRes RAW format keeps file sizes manageable, easy to edit and future-proof.

Additional details, including the release timing will be shared at a later date.

RAW, a new format from Apple that combines the incredible performance of ProRes with the flexibility of RAW video. The ProRes RAW update will be available free for the Atomos Shogun Inferno and Sumo 19 devices.

Atomos devices are the only monitor recorders to offer ProRes RAW, with realtime recording from the pristine sensor output of Panasonic, Sony and Canon cameras. Atomos CEO Jeromy Young said: “We are incredibly proud to be the first ProRes RAW enabled product in the market and it’s free for our customers. The performance and flexibility of ProRes RAW means a huge leap forward for video production.”

Camera to Timeline – enabled by Atomos

The new upgrade brings ProRes RAW and ProRes RAW HQ recording, monitoring, playback and tag editing to all owners of an Atomos Shogun Inferno or Sumo19 devices. Once installed, it will allow the capture of RAW images in up to 12-bit RGB — direct from many of the world’s most advanced cameras onto affordable SSD media. ProRes RAW files can be imported directly into Final Cut Pro 10.4.1 for high performance editing, color grading, and finishing on Mac laptop and desktop systems.

Supported Cameras

Eight of the most popular cine cameras with a RAW output, including the Panasonic AUEVA1, Varicam LT, Sony FS5/FS7 and Canon C300mkII/C500, will be supported with more to follow.

Stunningly Beautiful, Simply Efficient

Top cinematographers have long known that the secret to creativity is RAW processing — traditionally complex and expensive, huge data rates and proprietary formats and media have made RAW slow, cumbersome and expensive. The efficient nature of ProRes RAW recorded to standard SSD drives in Atomos devices removes these limitations. Now filmmakers can work easily with RAW – whether they are shooting episodic TV, commercials, documentaries, indie films or social events.

Image Preservation for HDR

Shooting ProRes RAW preserves maximum dynamic range, with a 12-bit depth and wide color gamut – essential for HDR finishing. The new format, which is available in two compression levels — ProRes RAW and ProRes RAW HQ — preserves image quality with flow date rates and file sizes much smaller than uncompressed RAW.

Slow Motion and 5.7K

Atomos recorders through ProRes RAW allow for increased flexibility in captured frame rates and resolutions. Atomos can record ProRes RAW up to 2K at 240 frames a second, or 4K at up to 120 frames per second. Higher resolutions such as 5.7K from the Panasonic AUEVA1
are also supported.

Portable ProRes RAW in AtomOS 9

Atomos’ intuitive Operating System AtomOS 9 gives you all the filming tools to work efficiently and creatively with ProRes RAW in a portable device. Fast connections in and out and advanced HDR screen processing means every pixel is accurately and instantly available for on-set creative playback and review. Pull the SSD out and dock to your Mac over Thunderbolt 3 or USB-C 3.1 for immediate super fast post production. Atomos and ProRes RAW together are the most affordable production-to-finishing solution available today.

Availability

Download the AtomOS 9 update for Shogun Inferno and Sumo 19 here:  www.atomos.com/firmware

ProRes RAW is a new format from Apple that offers the quality and workflow advantages of RAW with the stunning performance of ProRes. With ProRes RAW, editors can import, edit and grade pristine footage with RAW data from the camera sensor, providing ultimate flexibility when adjusting highlights and shadows — ideal for HDR workflows. And with performance optimized for macOS, editors can play full-quality 4K ProRes RAW files on MacBook Pro and iMac systems in real time without rendering. ProRes RAW files are even smaller than ProRes 4444 files, allowing editors to make better use of storage while providing an excellent format for archiving.

Final Cut Pro editors can work natively with ProRes RAW and ProRes RAW HQ files created by Atomos recorders. The format will be available as a free update for owners of Atomos Sumo 19 and Shogun Inferno devices. The format will also be available as part of a forthcoming upgrade package to users of the DJI Inspire 2 drone and Zenmuse X7 Super 35mm camera system designed for aerial cinematography.

As closed captioning becomes increasingly important around the world, Final Cut Pro now includes powerful closed captioning tools for professional filmmakers, YouTubers and students looking to add captions to their projects without the need for expensive third-party software or services. Users can import closed caption files directly into their project or create them from scratch. Captions appear in the viewer during playback and can be attached to video or audio clips in the timeline, so they automatically move with the clips to which they’re connected. An all-new captions inspector makes it simple to adjust caption text, color, alignment, location and more. Users can even create captions in multiple languages within the same timeline and easily share captioned videos to YouTube and Vimeo. And in the share window, a new Roles tab displays titles, video and audio roles in a single consolidated interface, making it easy to configure roles and closed captions when sharing.

Motion 5.4.1 and ProRes RAW enable motion graphics artists to take full advantage of RAW image quality with superb performance and flexibility when designing graphics and effects. Compressor 4.4.1 gains support for closed captioning with comprehensive controls to view, adjust and deliver captions as part of a batch or iTunes Store package.

Click here to read more…

From RedSharkNews

With the recent EVA1 firmware release, Atomos announces an upgrade to its Shogun Inferno and Sumo19 products that allow the full potential of the EVA1 to be realised.

Panasonic’s just-announced firmware upgrade allows the EVA1 to output 5.7K Raw video though its 6G SDI port. This will massively increase the flexibility and quality of the output from this popular new camera.

Why 5.7K? It’s in a sweet spot where, after de-bayering (the process that turns the output from the Bayer pattern filtered sensor into full colour) the resulting resolution will be in excess of a true 4K.

The Melbourne, Australia-based company says that actual Raw capture will be possible, and exactly how they will do this will be explained shortly, by which we presume they mean at NAB….read more